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I am a journalist, author, guitarist, singer, and songwriter who has spent my career spreading the gospel of the music I love, notably the Allman Brothers Band and the blues masters. I’ve been a Guitar World writer and editor since 1991, profiled countless musicians for The Wall Street Journal, and lived in Beijing for four years, forming a blues band with three Chinese musicians that toured the country, recorded an album, and won awards. That experience has informed everything I’ve done since, including forming Friends of the Brothers, the premier celebration of the music of the Allman Brothers Band.
Mile Davis is unflinching in this memoir, written with the great poet Quincy Troupe, detailing his drug addiction and the foul racism that undergirded too much of his life.
What I find most compelling is his in-depth discussion of music and musical legends who were his bandmates, notably Charlie Parker, Dizzy Gillespie, John Coltrane, Charles Mingus, and Thelonious Monk.
This is a mandatory reading for all fans of the golden era of jazz.
Miles: The Autobiography, like the man himself, holds nothing back. He talks about his battles against drugs and racism, and discusses the many women in his life. But above all, Miles talks about music and musicians, including the legends he has played with over the years: Bird, Dizzy, Monk, Trane, Mingus and many others. The man who has given us the most exciting music of recent times has now given us a fascinating and compelling insight into his extraordinary life. 'An engrossing read ...gives fascinating insights into the cult phenomenon' Miles Copeland, Weekend Telegraph 'Magnificently truthful, action packed, raw and…
Lilian Terry’s background is quite out-of-the-ordinary. Born in Egypt in 1930 to Maltese and Italian parents, she undertook academic studies in Cairo and Florence. Terry studied classical piano until age 17, developing an interest in jazz in her early teens. She participated in a variety of ways with jazz in Europe, beginning in the 1950s. As a singer, she was an active performer and recording artist. At the same time, she produced radio and television shows for Italy’s RAI network, and this activity led to some of her encounters with major figures of American jazz. Seven of these interactions (most of which spanned decades) are the subject of Dizzy, Duke, Brother Ray, and Friends.
For the same reason I would recommend attending any musical performance by John Birks ‘Dizzy’ Gillespie: Sheer entertainment, surprisingly touching aspects of his personality, instant feelings of friendship shared, and his unbreakable optimism, with which to face and endure whatever life had in store for him. In Italy he was a beloved “Italian,” officially elected honorary citizen of Bassano del Grappa, where we had opened the “Dizzy Gillespie Popular School of Music” that carried an integrated section for blind students. When his memoirs were published he asked me to translate the book into Italian, therefore I had to read it with particular concentration. Many were the moments I would have to shut the book and laugh out loud! Oh yes, Diz the Wiz, or The Joyous Soul of Jazz!
You don't have to know John Birks "Dizzy" Gillespie's songs to feel his influence. The self-taught trumpet player rose from a poor but musically driven upbringing to become a jazz mastermind, founding the bebop movement and giving rise to Afro-Cuban music.
This extensive biography is intertwined with reflections from famous Gillespie associates Cab Calloway, Count Basie, Miles Davis, Thelonious Monk, Mary Lou Williams, Ella Fitzgerald, and many others. They provide numerous perspectives of Gillespie's early start on the road to fame and the spirited times that would follow.
Now it can be said: three decades ago, when Vanity Fair assigned me to write a profile of Miles Davis to accompany an excerpt of his about-to-be-published memoir, I presented myself as a jazz expert — when in fact my enthusiasm for the music far outweighed my knowledge. But in the years since I’ve learned a lot about America’s great art form, in part through researching my Frank Sinatra biography — Sinatra worked with many important jazz musicians — and now in working on my latest book, about Miles and two of the geniuses who collaborated with him on his historic album Kind of Blue, the saxophonist John Coltrane and the pianist Bill Evans.
Saxophonist, flutist, and jazz educator Dave Liebman (born in 1946) was the son of two
Jewish Brooklyn schoolteachers, who envisioned the same life for him — all the more so after he contracted polio at age nine. Much to their dismay, Liebman had different ideas.
Because he couldn’t play sports, he nourished a passionate interest in music, first taking
piano lessons, then moving on to his real interest, the saxophone. A strong student with an
interest in history, he might have followed his parents’ wishes and become a teacher — until
the night, at age 16, he took a date to the New York jazz club Birdland and heard the
saxophone giant John Coltrane for the first time, and realized the one and only thing he
wanted to do with his life.
Written in the form of a dialogue with the jazz writer and musician
Lewis Porter, What It Is…
Dave Liebman is one of the leading forces in contemporary jazz. Prominently known for performing with Miles Davis and Elvin Jones, he has exerted considerable influence as a saxophonist, bandleader, composer, author, and educator. In addition to his recent recognition as a National Endowment for the Arts Jazz Master, he has received the Order of Arts and Letters from France and holds an honorary doctorate from the Sibelius Academy in Helsinki, Finland. He has mentored many of today's most notable young jazz musicians worldwide and is a prolific writer on jazz.
As a scholar as well as performer of the African American creative improvised music usually called jazz, my attunement to this art form resonates with its historico-cultural matrix as much as with the sounds themselves. These books distinguish themselves for being well-researched and rigorous. They are the real deal, doing justice to the heart as well as the intellect of this art form.
Pianist Hawes is an under-sung master of the early bebop period. This supremely readable narrative tells the story of how he met and played with Charlie Parker already in his teen years, painting a picture of how jazz musicians lived in the heyday of the bebop revolution. A fun and informative book.
Hampton Hawes [1928–1977] was one of jazz's greatest pianists. Among his peers from California the self-taught Hawes was second only to Oscar Peterson. At the time of his celebration as New Star of the Year by downbeat magazine (1956), Hawes was already struggling with a heroin addiction that would lead to his arrest and imprisonment, and the interruption of a brilliant career. In 1963 President John F. Kennedy granted Hawes an Executive Pardon. In eloquent and humorous language Hampton Hawes tells of a life of suffering and redemption that reads like an improbable novel. Gary Giddins has called it "a…
I have a sophisticated education, including a Ph.D. in History from the University of Massachusetts. I have had a career, if that’s precisely the word, in the music business as the publicist for the Grateful Dead. I spent ten years researching what became On Highway 61. I have been a close observer of America’s racial politics at least since 1962, when the head of the Hollywood NAACP, James Tolbert, and his family, moved in next door to my family’s home in the white working-class neighborhood of Pacoima in the San Fernando Valley. Mr. Tolbert instructed me in music among other things, and I’ve been studying ever since.
When I began my book I’d been out of graduate school for 25 years. I read deeply to see what I’d missed and discovered what is now called cultural history. It seems to me that a great deal of it is written to a template rather than directly from the facts as discovered. Even though DeVeaux comes out of the academic world, I get no such sense from Bop. It’s brilliant. Immaculately researched and nicely written, it addresses the extraordinary transition of Black music from entertainment-driven (however artful) to art (however entertaining). It’s an important story, and DeVeaux tells it beautifully.
The richest place in America's musical landscape is that fertile ground occupied by jazz. Scott DeVeaux takes a central chapter in the history of jazz - the birth of bebop - and shows how our contemporary ideas of this uniquely American art form flow from that pivotal moment. At the same time, he provides an extraordinary view of the United States in the decades just prior to the civil rights movement. DeVeaux begins with an examination of the Swing Era, focusing particularly on the position of African American musicians. He highlights the role played by tenor saxophonist Coleman Hawkins, a…
I've been passionate about music for almost my entire life. Jazz music in particular speaks to me but not just jazz. I love music, full stop. I really discovered jazz when I attended a jazz club workshop in London and there, I had to join in or leave. I chose to join in and since then I have never looked back. I was introduced to more jazz musicians and now write about music for three major columns as well as Readers’ Digest. My Women In Jazz book won several awards. I have been International Editor for the Jazz Journalist Association and had my work commissioned by the Library of Congress.
This book opened up jazz music for me and changed how I viewed it. It is a history book, a storybook, and a narrative on social change, and the author is both knowledgeable and intuitive in his approach.
Insights into nearly all forms of jazz are given, along with their origins. Free jazz and improvised music are explored and in the final pages, Finkelstein gives some wonderful insights into what the future of jazz might look like from the American viewpoint. Masterful writing and a glorious journey into and through the jazz genre and its development.
I felt like Finkelstein was speaking directly to me in some places. An accessible and informative read.
Jazz: A People's Music is a comprehensive book written by Sidney Finkelstein that delves into the history, culture, and significance of jazz music. The book explores the origins of jazz in African American communities in New Orleans and traces its evolution through the 20th century. Finkelstein examines the key figures in jazz, including Louis Armstrong, Duke Ellington, and Charlie Parker, and explores the social and political contexts in which they created their music. The book also explores the influence of jazz on other genres of music, such as rock and roll and hip-hop. Jazz: A People's Music is a must-read…
My earliest filmgoing memory is of a bad guy getting pushed down the stairs in Alfred Hitchcock's The Man Who Knew Too Much. That shocking scene has stayed with me, leading me into a lifetime of exploring the dark visions of crime stories. It was only natural that my love of rock music, and in its interaction with other media would draw me to mystery writers whose books were fueled by their love of rock, blues and pop. "If not for music and movies, I wouldn't be a novelist," George Pelecanos once told me. "They have influenced me more than any author. I want to shout about it." Me too.
As a jazz critic, I was long struck by the absence of knowledgable (and fun) references to this music in mystery novels, my second love. Then I happened upon a pair of remaindered books by British novelist John Harvey. A blurb referring to his police detective Charlie Resnick's devotion to bebop giants Charlie Parker, Miles Davis, and Thelonious Monk sealed the deal. Harvey doesn't just drop names and titles in Easy Meat, he plays jazz critic himself: "It was a bad sign, Resnick knew, when he played Monk last thing at night, the pianist’s fractured attempts at melody obeying no logic but their own. A big man, as Resnick was big, Monk’s fingers stabbed down at single notes, crushed chords into the beauty of an abstract painting, twisted scaffolding seen in a certain light."
Fifteen year old Nicky Snape is found hanging from the shower in a local authority home where he is awaiting trial for his involvement in a brutally violent burglary. Charlie Resnick, Nicky's arresting officer, knows the poor, working-class Snape family well and suspects foul play. When the investigation results in a vicious murder on the banks of the River Trent, Resnick's suspicions about the case appear to have been well founded. The deaths coincide with a series of brutal male rapes in the city and Resnick finds himself in charge of investigations that lead to some startling and sinister revelations.…
I have a sophisticated education, including a Ph.D. in History from the University of Massachusetts. I have had a career, if that’s precisely the word, in the music business as the publicist for the Grateful Dead. I spent ten years researching what became On Highway 61. I have been a close observer of America’s racial politics at least since 1962, when the head of the Hollywood NAACP, James Tolbert, and his family, moved in next door to my family’s home in the white working-class neighborhood of Pacoima in the San Fernando Valley. Mr. Tolbert instructed me in music among other things, and I’ve been studying ever since.
It is not possible to have any serious grasp of America in the 20th century without knowing and understanding Louis Armstrong. His story covers a great deal of the Black experience, from the exodus out of the South to the racism of the North. His life exposes the homogenizing machine that is the entertainment industry. And it shows what happens when a genius refuses to accept tragedy. This is the definitive biography of a great American.
Louis Armstrong was the greatest jazz musician of the twentieth century and a giant of modern American culture. He knocked the Beatles off the top of the charts, wrote the finest of all jazz autobiographies - without a collaborator - and created collages that have been compared to the art of Romare Bearden. The ranks of his admirers included Johnny Cash, Jackson Pollock and Orson Welles. Offstage he was witty, introspective and unexpectedly complex, a beloved colleague with an explosive temper whose larger-than-life personality was tougher and more sharp-edged than his worshipping fans ever knew. "Wall Street Journal" arts columnist…
My tenure as editor-in-chief of Guitar magazine is well behind me now, but it always lights me up to create content for musicians, and to absorb it. These are my people, you see, a community of curious, empathic, chronically late daydreamers and night owls, good listeners all. I’m not qualified to comment on Adorno’s Aesthetic Theory or Stravinsky’s Poetics of Music, but neither do I want to talk about rock-star memoirs or fawning fictionalizations. No fanfare here, thank you. Instead, these are five books in which musicians may recognize some element of their creative self and come away with a little more fuel for the fire.
Mingus reveals a life so foreign to my own upbringing—uninhibited, dangerous, angry, crude, at once vulnerable and invulnerable—that I was shocked by this book as a teenage jazz head.
I found his autobiography intimidating, much the way his music shoved me out of my comfort zone. In Mingus’s prose, there is no mistaking the cadences, dissonance, and strange beauty that characterize his formidable body of musical work.
I’ve never bought into the trope that one has to suffer for one’s art but I believed Mingus when he said, “I'm trying to play the truth of what I am."
Bass player extraordinaire Charles Mingus, who died in 1979, is one of the essential composers in the history of jazz, and Beneath the Underdog, his celebrated, wild, funny, demonic, anguished, shocking and profoundly moving memoir, is the greatest autobiography ever written by a jazz musician.
It tells of his God-haunted childhood in Watts during the 1920s and 1930s; his outcast adolescent years; his apprenticeship, not only with jazzmen but also with pimps, hookers, junkies, and hoodlums; and his golden years in New York City with such legendary figures as Duke Ellington, Lionel Hampton, Miles Davis, Charlie Parker, and Dizzy Gillespie.…
I have been fascinated by James Ellroy’s life and writing since I first discovered it as a lonely teenager on a rainswept family holiday. He went through dark times; the unsolved murder of his mother and his subsequent struggles with addiction. But how he overcame this to become one of America’s greatest writers is an inspiring story and has inspired me to get through my own personal turmoil. Indeed, many Ellroy readers will attest to how his life story and writing helped them overcome their struggles. Now as Ellroy’s biographer, I am continually drawn back to his work. Reading just a few pages allows me to contemplate what Ellroy calls ‘the Wonder’.
Ellroy at his most avant-garde. The plot is familiar territory for Ellroy fans; murder and political corruption in 1950s LA. But the experimental prose style, including the most pared-down clipped sentences, started to alienate some of his readers. Personally, I regard the book as Ellroy’s masterpiece and the experimentation is justified as it helps to deliver a lightning-fast pace.
The internationally acclaimed author of the L.A. Quartet and The Underworld USA Trilogy, James Ellroy, presents another literary noir masterpiece of historical paranoia.
Los Angeles, 1958. Killings, beatings, bribes, shakedowns--it's standard procedure for Lieutenant Dave Klein, LAPD. He's a slumlord, a bagman, an enforcer--a power in his own small corner of hell. Then the Feds announce a full-out investigation into local police corruption, and everything goes haywire.
Klein's been hung out as bait, "a bad cop to draw the heat," and the heat's coming from all sides: from local politicians, from LAPD brass, from racketeers and drug kingpins--all of them…
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